Page 303 - ESSENTIAL LISTENING TO MUSIC

Shelley, Mary, 168
Shelton, Blake, 31
Shining, The (film), 193
Short Ride in a Fast Machine (Adams), 260–261 short-short-short-long (SSSL) motive, 12–13, 40,
158–163 Sibelius, Jean, 223
Silver Linings Playbook (film), 256 simple recitative, 74, 76–77
The Simpsons (TV program), 19 sinfonia, 134
Singspiel, 146
Sistine Chapel, 58–61
six-pitch scales, 5
sixteenth notes, 17
Skonberg, Bria, 253
Slayer, 234
Sleeping Beauty (Tchaikovsky), 196
Sleeping with the Enemy (film), 193
Smetana, Bedˇrich, 223
Smithson, Harriet, 190–194
snare drum, 37
soft pedal, 179
solo concerto, 82, 143
Solomon, Johann, 111
sonata–allegro form, 120–124, 136–139, 159–163, 189
coda, 122, 161
development, 121, 137–138, 160 exposition, 121
hearing, 122–124
introduction, 122 recapitulation, 121–122, 138, 161
sonata
Baroque period, 142
Classical period, 120, 142–143 Romantic period, 143, 154–157, 165
song cycle, 174
“Song of the Italians, The,” 222–223
Song of the Nibelungs, 203
song, nature of, 10
soprano, 31, 53, 61, 89–90, 199, 201 soprano-bass polarity, 70–71
sound perception, 2–4
sound recording, 5
sound waves, 3
Spalding, Esperanza, 33
speakers, 10
Spotify, 2, 11, 185, 265
Sprechstimme (“speech-voice”), 242
“Spring” Concerto from The Four Seasons (Viv-
aldi), 78, 83–85 staff, 21–23
stanza (strophe), in strophic form, 43 Star Wars series (films), 261 “Star-Spangled Banner, The,” 12, 41, 222 statement, in creating form, 42
Stein, Gertrude, 231, 246 Steinway Company, 179 stems, 21–22 stereophonic speakers, 10 stimulation bars, 218 Sting, 28, 47, 132
stops, organ, 38 Strauss, Johann, 241
Strauss, Richard, Also sprach Zarathustra, 13–14, 23, 31, 37, 194
Stravinsky, Igor, 233, 234, 235–240, 244, 246, 248, 255 Le Sacre du printemps (The Rite of Spring),
232, 235–240
string quartet, “Emperor,” Opus 76, No. 3 (Haydn),
139–142 strings
in Classical orchestra, 135–136
harp, 34
of Middle Ages, 55–56
in Romantic orchestra, 185, 186 symphony orchestra seating plan, 39, 40 types, 32–34
violin group, 32–33, 185, 186 strophic form, 43–44, 55, 176
modified, 177–178 Strozzi, Barbara, 71–73, 74
L’amante segreto (The Secret Lover), 72–73 Strozzi, Bernardo, 74
style periods, 8–9
styles, 8–9
subject, fugue, 88, 89
Suite de symphonies (Mouret), 47, 79–80
Suite for Piano (Schoenberg), 244
Super Bowl, 12, 199
Superman (film), 261
sustaining pedal, 179, 182
Swan Lake (Tchaikovsky), 196, 221, 236
Swift, Taylor, 135
swing bands, 253
syllabic singing, 50–51
symphonic jazz, 253
Symphonie fantastique (Berlioz), 185–194, 262 symphony (genre), 12–13. See also names of spe-
cific symphonies, below
of Beethoven, 12–13, 20–21, 23, 25, 40, 111, 157–165, 168, 262
Classical period, 45, 46, 105, 111, 117, 120, 122, 127–130, 134–139, 157–165
defined, 134
Romantic period, 164–165, 174, 185–187, 217–218,
221–222, 264 Symphony Hall (Boston), 8, 215
Symphony No. 1 (Mahler), 186
Symphony No. 2 (Ma♭hler), 187
Symphony No. 3 in E major “Eroica” (Beethoven),
158
Symphony No. 5 in C minor (Beethoven), 12–13,
23, 40, 111, 158–163, 165, 185
Symphony No. 9 (Beethoven), 20–21, 25, 163–165, 262 Symphony No. 40 in G minor (Mozart), 134–135,
136–139, 186, 187
Symphony No. 94, “Surprise” (Haydn), 45, 46, 105,
120, 127–130 symphony orchestra, 32, 39–40
Baroque, 78–80, 136 Classical, 135–136 conductor, 39, 216 “orchestra” as term, 79 Romantic, 39, 185–187 seating plan, 39, 40
syncopation, 18–19, 237 synthesizer, 256
T
tacet, 258–259
“Take a Bow” (Rihanna), 12
“Take Me Out to the Ball Game,” 20, 21 Talking Heads, 259
Tannhäuser (Wagner), 204
Taskin, Pascal, 38
Tchaikovsky, Peter, 170, 194–197
1812 Overture, 195, 221
The Nutcracker, “Dance of the Reed Pipes,” 45,
46, 196, 221, 236
Romeo and Juliet, 170, 194, 221
television music, 12, 19, 47, 65, 79–80, 204, 247, 256 tempo
defined, 16
Romantic, 172
temporal lobe, 3, 4, 194
Tender Buttons (Stein), 231
Tender Land, The (Copland), 247
Tennyson, Alfred, 203
tenor, 31–32, 53, 89–90, 199, 201
Terfel, Bryn, 104
Terminator (film), 256
ternary form (ABA), 45–46, 117–124, 144–145, 187 terraced dynamics, 83–85
texture, 40–42
Classical period, 107–108
homophony, 40–41
monophony, 40, 49–51, 54–55 polyphony, 41–42, 52–54, 59–61, 70, 87–90
theme and variations, 44–45, 124–130, 189 Symphony No. 5 in C minor (Beethoven),
161–162
Symphony No. 94, “Surprise” (Haydn), 45, 46,
105, 120, 127–130
“Twinkle, Twinkle, Little Star” (“Ah, vous dirai-
je Maman”), 23, 44–45, 106, 117, 125–127 There Will Be Blood (film), 220
“This Night” (Joel), 156 “Three Blind Mice,” 41 through-composed, 176 Timberlake, Justin, 31–32 timbre
defined, 31 instrumental, 32–40 voice, 31–32
time signature, 18–19
timpani (kettledrums), 36–37, 40, 78 “To Love You More” (Dion), 29
Tolkien, J. R. R., 204, 205
tonality, 24–25
tone cluster, 234
tone poem, 13–14, 194–197, 221, 223–225 tonic, 24–25, 37
Tosca (Puccini), 209, 211
trance music, 259
transition (bridge), 121, 137, 162
treble clef, 22
tremolo, 33
triad, 26–27, 233–234
trill, 33
trio, 118–119
triple meter, 16–17, 18, 117–119
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